chanel: 54 posts

Louis Vuitton has done it. It managed to buy a stake in the venerable house of Jean Patou and to add it to its impressive collection of brands. It announced reviving the Jean Patou fashion line and promised many exciting developments. The first one arrived and I’m not holding my breath for the subsequent ones. Dior launched a perfume called Joy. Why let such a brilliant name languish on an old-fashioned perfume when it can grace a modern, pink-tinted juice?

The press release was ecstatic. “Grasse Rose, in both Essence and Absolute form, as well as heady Jasmine, blend with these delectable fruits [bergamot and mandarin] in a vibrant smile. Warm and creamy sandalwood embraces us in softness.” That Dior needs to hire a good copywriter is obvious, but even more so the fact that besides the name, Dior also took the main idea of Jean Patou’s Joy, rose and jasmine. What would be the result, I wondered?

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Deauville doesn’t evoke a particular scent for me. The name of this resort town on the coast of Normandy mostly reminds me of A Man and A Woman, the 1966 French film starring the incomparable Anouk Aimée. I have visited Deauville several times but only for work, unlike most normal people who travel to Normandy on vacation. As a result, when I sprayed Chanel’s Paris-Deauville on my wrist, its fragrance made me bypass France entirely. Instead, it took me to Sicily.

I smelled the bitterness of orange peel and green leaves unfolding on my skin and I could almost feel the breeze from the Ionian sea and the bright flavor of orange granita. The hot stones and sun bleached grasses slowly enter the picture. And then before the fragrance even reveals its jasmine inflected heart, I already recall the opulence of blossoms in Aci Trezza, the rocky strip of the Riviera where Ulysses might have fought the Cyclops. My memory erases the misdeeds of the 1960s real estate developers, which make the Cyclops seem rather innocuous, and instead as I wear Paris-Deauville, I escape to visions of endless blue sea, cliffs, orange orchards and jasmine vines.

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The next big Chanel launch is a collection of three perfumes, Les Eaux de Chanel. Like Les Exclusifs, they are inspired by places that were meaningful to Chanel. Perfumer Olivier Polge has selected three destinations, Deauville, Venice and Biarritz, and created three stories around them. All three are meant to explore fresh and effervescent notes, but they play with different characters and effects. I will share more detailed reviews as I test the perfumes carefully, and for now just a few general notes the collection.

PARIS-DEAUVILLE

Gabrielle Chanel opened her first boutique in Deauville on the Normandy coast in 1912.

“More than the actual reality of the destination, I liked the idea urbanites make of it when they dream of a
weekend away in the country. I wasn’t striving to capture the Normandy countryside as it stands today, but rather
the promise of a stroll through the tall grasses.” Olivier Polge

The fragrance is green, with the brightness of bitter orange rind, petitgrain and basil leaves. It’s accented with rose and jasmine, but the drydown has a layer of patchouli that gives it a chypre-like impression.

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As preparation for the Art of Perfume and Wine class that I’m teaching in April in France (more details here), I thought I would write about 7 vintage perfumes that have been influential for the evolution of perfumery and that we will smell in their original versions. There will be over 50 different perfumes in this course, but these 7 are among the most essential to learn.

Guerlain L’Heure Bleue 1912

Many perfumers will name Guerlain as the most influential perfume house, especially in its period when Jacques Guerlain was the head creator. L’Heure Bleue is a textbook example of a classic as well as of a symphonic perfume.

We will, of course, smell other Guerlain classics, from Après L’Ondée and Mitsouko to Chamade and Chant d’Arômes.

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After years of waiting for Chanel’s next big launch, here comes Gabrielle. “A rebel at heart…passionate and free,” exalted the press release, using words like radiant, sparkling, luminous and “purely feminine.” Although Coco Chanel was a talented individual and a major force in fashion, as a personality I don’t find her all that appealing. But then again, it wasn’t the first time the brand relied on the designer’s charisma to cast a spell. Coco, one of the most baroque and elegant perfumes of the 1980s, used Gabrielle Chanel’s nickname and an image of her reclining in her Coromandel-decorated salon. So what’s wrong with Gabrielle?

One fundamental thing. Unlike its namesake, Gabrielle the perfume doesn’t aim for originality. Gabrielle is a shadow of Coco Mademoiselle, with less personality, less character and less presence. Take Coco Mademoiselle, remove all of the bling and earthy bit of patchouli, put it through a laundry cycle with white musks, garnish it with a few white florals—and here you go, Gabrielle.

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